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  • 1.
    Aneer, Cecilia
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Textilvetenskap. Uppsala Univ, Uppsala, Sweden..
    Fashionable Encounters: Perspectives and Trends in Textile and Dress in the Early Modern Nordic World2015Inngår i: Textile History, ISSN 0040-4969, E-ISSN 1743-2952, Vol. 46, nr 2, s. 279-280Artikkel, omtale (Annet vitenskapelig)
  • 2.
    Bäckström, Hanna
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Textilvetenskap.
    'An Amusing and Useful Pastime': Knitting as a Performance of Femininity2017Inngår i: Performing Herself: Everyday Practices and the Making of Gender in Early Modern Sweden / [ed] Mikael Alm, Uppsala, Sweden: Uppsala University, 2017, 1, s. 89-129Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 3.
    Candréus, Cecilia
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Textilvetenskap.
    Embroidery as a Means of Diplomacy: The Artisans' Part in a Royal Marriage Proposal, 1560-15612017Inngår i: Textile History, ISSN 0040-4969, E-ISSN 1743-2952, Vol. 48, nr 2, s. 211-232Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    The use of fashionable dress played an important part in early modern dynastic politics. In this paper, the diplomatic efforts to engineer a marriage between Erik XIV of Sweden and Elizabeth I of England are used as an example of the interrelations of textiles and diplomacy. Parallel to their negotiations in London, the Swedes organised the production of luxury goods and set up temporary workshops on the spot. The study looks at the Swedish embroidery workshop in London, using written records to investigate its organisation and production, and to discuss artisanal skills and the transnational element in employment in a royal workshop. It is suggested that the entire enterprise was a diplomatic practice, designed to enable the Swedes to draw attention to their presence in London and make their consumption visible on all possible levels.

  • 4.
    Candréus, Cecilia
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Textilvetenskap.
    En svensk verkstad för utländska lyxvaror: De kungliga pärlstickarna vid Gustav I:s hov 1523-15602013Inngår i: Historisk Tidskrift (S), ISSN 0345-469X, Vol. 133, nr 4, s. 587-620Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Producing foreign splendor in domestic workshops: The royal embroiderers at the court of King Gustav I Vasa of Sweden 1523-1560

    A European Renaissance monarch was expected to live up to the standards of his peers. Dressed in rich apparel the regent aimed to create an image of magnificent kingship. In order to accommodate the need for opulent dress, it was necessary to have access to artisans working in different specialist trades. One such specialist trade was the embroiderers. This article investigates the work made in the Swedish royal embroidery workshop during the reign of King Gustav I (r. 1523-1560). Research questions focus on the production of embroidered dress. The number of artisans, their background and the organization of work are studied in relation to the clothes described in royal inventories and wardrobe accounts. The rise of a large royal embroidery workshop emerged gradually during the near 40 year-reign of Gustav I. The recruitment of foreign artisans, mainly from Germany and France, is seen in the growing numbers of embroiderers employed at court. The skills of these foreign artisans were passed on to Swedish apprentices in the workshop. By the time of the King's death, in 1560, more than ten embroiderers were employed on a full time basis. The workshop had then approached its peak in terms of size and would only increase slightly during the reign of Gustav's son Erik XIV. An overview of embroidered dress belonging to the members of the royal family 1539-1559 shows shifts in the use of different types of garments and embroidery techniques. The clothes described both in inventories and wardrobe accounts correspond to contemporary portraiture. This indicates that the Swedish royal embroidery workshop had capacity to supply the Vasa court with fashionable outfits. Furthermore, there is no evidence of imported garments having been more than a supplement to domestic production.

  • 5.
    Candréus, Cecilia
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Textilvetenskap.
    Hantverkstradition och individuella tillämpningar av en broderiteknik2015Inngår i: Konstnärlig kultur: Agnes Geijer och textilforskningen / [ed] Margareta Nockert, Uppsala: Upplandsmuseet , 2015, s. 183-196Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 6.
    Candréus, Cecilia
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Textilvetenskap.
    Med hundra år av erfarenheter: modern textilforskning på gammal väg och nya stigar2014Inngår i: De kyrkliga kulturarven: aktuell forskning och pedagogisk utveckling / [ed] Emilie Karlsmo, Jakob Lindblad och Henrik Widmark, Uppsala: Uppsala universitet, 2014, s. 107-115Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 7.
    Candréus, Cecilia
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Textilvetenskap.
    The Use of Printed Designs in 17th-Century Embroidery - Layers of Transfer and Interpretation2013Inngår i: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 82, nr 3, s. 191-204Artikkel i tidsskrift (Fagfellevurdert)
  • 8.
    Dahrén, Lena
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Textilvetenskap.
    Dentelle, mode et transparence. Lace, fashion and transparency.: "Folklore bobbin made borders compared to bobbin made bordersa nd edgings of gold and silver in the Fashion of Early Modern Time"2012Inngår i: Dentelle, mode et transparence. Lace, fashion and transparency: "Folklore bobbin made borders compared to bobbin made bordersa nd edgings of gold and silver in the Fashion of Early Modern Time", Bryssel, 2012Konferansepaper (Annet vitenskapelig)
  • 9.
    Dahrén, Lena
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Textilvetenskap.
    Fashioning the Early Modern Swedish Nobility - mirrored in preserved 17th-century liturgical textiles2014Inngår i: Fashionable Encounters: Perspectives and Trends in Textile and Dress in the Early Modern Nordic World / [ed] T Engelhardt Mathiasen, M-L Nosch, M Ringgaard, K Toftegaard and M Venborg Pedersen, Oxbow Books, 2014, 1, s. 105-118Kapittel i bok, del av antologi (Fagfellevurdert)
  • 10.
    Dahrén, Lena
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Textilvetenskap.
    Folkliga knypplingar i jämförelse med knypplingar av guld och silver2015Inngår i: Konstnärlig kultur: Agnes Geijer och textilforskningen / [ed] Margareta Nockert, Uppsala: Upplandsmuseet , 2015, 1, s. 243-262Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 11.
    Dahrén, Lena
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Textilvetenskap.
    Med kant av guld och silver2011Inngår i: Garde Robe årsbok 2011, Garde Robe , 2011, s. 74-79Kapittel i bok, del av antologi (Annet (populærvitenskap, debatt, mm))
  • 12.
    Dahrén, Lena
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Textilvetenskap.
    Med kant av guld och silver...: En studie av knypplade bårder och uddar av metall 1550-16402010Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

     

    The study examines bobbin-made borders and edgings in gold and silver during the period 1550-1640.

     

    The aim of the thesis is to study the technique of bobbin made lace and to place it in a historical, social and economic context. This is done by describing and analyzing samples of bobbin made lace in gold and silver manufactured during the period 1550-1640 and giving a picture of production, procurement, use and reuse of bobbin made lace.

     

    The divided aim implies that the thesis has two paths. The earlier chapters investigate production, dealing with equipment, pattern books, techniques and patterns. The analysis and interpretation has its anchorage in deeply established practical knowledge and experience of bobbin lace making. The later chapters, dealing with procurement, use and reuse, are based on studies of portrait archives and preserved artefacts.

     

    The study is built on object-based and archival research alongside portrait studies.  The primary sources are bobbin-made borders and edgings preserved on ecclesiastical textiles in Sweden, documentation from the Swedish Royal accounts, and dress and portraits found in European collections.

     

  • 13.
    Dahrén, Lena
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Textilvetenskap.
    Printed Pattern Books for Early Modern Bobbin-made Borders and Edgings2013Inngår i: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 82, nr 3, s. 169-190Artikkel i tidsskrift (Fagfellevurdert)
  • 14.
    Eriksson, Rose
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Textilvetenskap.
    Retorik och praktik.: en studie av Gestriklands hemslöjdsförening 1912-19302018Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    The principal aim of this dissertation, Rhetoric and Practice: A Study of the Handicraft Society of Gestrikland 1912-1930, has been to investigate how the rhetoric of the Society – in its early years, as well in the subsequent writings which relate the Society’s history – compares to its actual practices, and to undertake a critical review of the meaning and practical application of the Society’s official slogans. One area of focus is the way Gestrikland’s Handicraft society employed the motto of “helping people to help themselves” – the idea, that is to say, of generating income for the poor. Another focus is the concept of “local character” as applied to the most typical handicraft products for a particular region. Both concepts were central to the Swedish handicraft movement.

    The study of archivial records as well as the analyses of textile objects, conducted from the point of view my own practical expertise, has led to significant new knowledge which clearly shows the discrepancy between the rhetoric and the reality of the early Handicraft movement. By problematizing and analysing the central concepts of the movement, “helping people to help themselves” and “local character”, I have been able to give a more relevant understanding of the practice. Specifically, I show that the origin of “local character” does not derive from the qualities of the surrounding natural environment, but rather from the creative initiative of particular individuals. Similarly, the idea of “helping people to help themselves”, which in the official rhetoric was understood to describe an initiative to supplement the income of the poorer folk of the countryside, has also in practice been shown to create occupation also for the women of the elite, and to help them find a place in public life. The handicraft movement thus became an organisation of middle-class women for women of all classes. One might say the organisation even existed to “help one’s own people help themselves”.

     

  • 15.
    Holmberg, Annelie
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Textilvetenskap.
    Masters and Apprentices of Textiles Craft2013Inngår i: Techne series: Research in sloyd education and crafts science. A, ISSN 1238-9501, E-ISSN 1893-1774, Vol. 20, nr 3, s. 20-32Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This article describes how the craftsmen at the workroom at Handarbetets vänner, Stockholm, learned their craft skills during the years 1948‒2012. What this knowledge consisted of and how the apprentices’ knowledge grows into skillfulness. Interviews with 15 weavers and embroiderers who have worked during the time period form the empirical material. The period of time was chosen according to the informants ́ times of employment.

    The strategies for learning are affected by dialogue between the craftsmen, both a verbal and a silent dialogue. The dialogue is an important part of the learning even though the making is central. The workroom forms its own way of making textile art, a way of doing that is learned from master to apprentice. In this situated knowledge, the different masters have their own ways of for instance mixing color and material, all corresponding with core values. The learning is also affected by the artistic leader and the artist.

    The learning within the workroom occurs in the making of objects, but never at the cost of the quality of the objects. The core values of the establishments, and the fact that there is a strive to be profitable, makes the circumstances. The collaboration with the artist in creating unique textile art is the primary goal; the learning is something that is taken for granted in order to withhold the competence in the establishment.

  • 16.
    Holmberg, Annelie
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Textilvetenskap.
    The Socially Skilled Craftsman2017Konferansepaper (Annet vitenskapelig)
  • 17.
    Holmberg, Annelie
    et al.
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Textilvetenskap.
    Hasselskog, Peter
    Westerlund, Stina
    Sverige: Slöjdämnets situation, utveckling och forskning under 2009–20182018Inngår i: Techne series: Research in sloyd education and crafts science. A, ISSN 1238-9501, E-ISSN 1893-1774, Vol. 25, nr 3, s. 74-93Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [sv]

    Perioden 2009–2018 har varit mycket händelserik för slöjdfältet i Sverige. Den svenska grundskolan har fått en ny läroplan inklusive ny kursplan för slöjdämnet. Lärarutbildningen har förnyats och reviderats ett flertal gånger. Antalet disputationer med anknytning till slöjdämnet har under perioden ökat jämfört med tidigare. I föreliggande text analyseras slöjdfältets utveckling utifrån ett utbildningsekologiskt ramverk och ur flera perspektiv. Ett läroplansteoretiskt perspektiv synliggör förändrade förutsättningar genom policy och olika styrdokument, vilka syftar till konsekvenser i praktiken inom såväl grundskola som lärarutbildning. Här riktas fokus mot de olika reformer som påverkat slöjdområdet, samt den nya läroplanens faktiska genomslag. Ett utbildningsekologiskt perspektiv bidrar till att förtydliga bilden av slöjdämnet inom såväl en pedagogisk, vetenskaplig som samhällelig kontext. Analys av tidsperioden visar att förändringar i lärarutbildning och ny kursplan för grundskolan kommit att påverka slöjdundervisningen, men att i policy avsedda förändringar inte fullt ut realiserats. Påståendet stöds bland annat av den nationella ämnesutvärderingen av grundskolans slöjdämne som genomfördes 2015. Verksamheten kan kritiseras för bristande likvärdighet i såväl grundskola som inom lärarutbildning. Det svenska slöjdfältet är ännu ett ungt forskningsområde som först år 2013 erhöll sin första professor. Efter att tio doktorander disputerat och ett förhållandevis stort antal studier publicerats inom fältet under den aktuella periodenhar möjligheterna till forskarutbildning minskat. Avsaknaden av ett gemensamt nationellt forskningsämne försvagar och försvårar nödvändig utveckling. Det sammantagna resultatet visar att slöjdfältet som helhet står relativt starkt, men att det också står inför utmaningar i såväl grundskola och lärarutbildning och gällande att realisera ett slöjdämne på vetenskaplig grund.

  • 18.
    Lindqvist Sandgren, Eva
    et al.
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Wahlberg, Ingela
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Textilvetenskap.
    Det broderade relikvariet i Linköpings domkyrka2018Inngår i: Fornvännen, ISSN 0015-7813, E-ISSN 1404-9430, Vol. 113, nr 4, s. 184-195Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This article discusses the embroidered skull reliquary on foot, kept in the Linkoping Castle and Cathedral Museum (SHM 3920:6). The reliquary was examined by Agnes Branting and Andreas Lindblom in 1928 and discussed in this journal by Axel Romdahl in 1929. Inger Estham describes the object in the 2001 publication on Linkoping Cathedral and suggests that it was a gift from Vadstena Abbey to the cathedral for the translation of Bishop Nils Hermansson's relics in 1515. Our analysis of the textiles, the embroidery, the traces of lost ornaments and the iconography has led us to believe that the assumed provenance from the hands of the nuns of Vadstena Abbey is correct. However, the decoration on top of the lid, forming a typical Birgittine crown, would not be correct for a bishop: it would instead be most appropriate for a Birgittine nun. Furthermore, the decoration and the execution of the embroidery correspond to textile production in Vadstena Abbey in the mid-15th century, not the early 16th. Finally, a description of the skull reliquary used at the translation of St. Catherine of Vadstena in 1489 fits rather well with what the Linkoping reliquary is likely to have looked like originally. We therefore dismiss the reliquary's association with the translation of Bishop Nils Hermansson in 1515 and instead suggest a date no later than 1489.

  • 19.
    Melin, Olle-Petter
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Textilvetenskap.
    Metoder för flerfärgsstickning: En undersökning av instruktioner i handböcker2017Independent thesis Advanced level (degree of Master (One Year)), 20 poäng / 30 hpOppgave
    Abstract [en]

    Melin, O-P, 2017, Metoder för flerfärgsstickning - En undersökning av instruktioner i handböcker. (Fair-isle knitting methods – A survey of instructions in knitting manuals), Institutionen för Konstvetenskap, Department of Art History, Uppsala University.

     

    The study researches the instructions for various methods of executing patterned knitting with two or more colours (often called Fair Isle knitting) in knitting-manuals from the Nordic countries, the UK and North America, in search of similarities, differences and traditions. Professor Edward Shils defines tradition as something created by humans which is transmitted between at least three generations. Are there similarities and differences between these areas in regard to how colour knitting is worked?

    The study identifies and differentiates between four main methods for colour-knitting. The researched ca 130 manuals, dated from the 1950´s until the present - were analyzed in regard to the relative frequency of the methods they advocate.

    The result is that two-thirds of the instructions for Fair Isle knitting, during the period and regardless of geographical/cultural area, propose the stranded method with parallel floats. The other stranded method - with rotated floats - is less often given, and seems to have become less popular within the researched period. The method with rotated floats is mentioned more often in manuals from the Anglo-Saxon countries.

    The bound methods of Fair Isle knitting are the least suggested in the researched manuals, despite the bound and woven method being referred to, especially in British manuals, as equally advantageous. This method also never seems to have had much popularity in the Nordic countries. Bound and twined knitting, although until recently only used in areas of Sweden and Norway, might, because of the recent publication of manuals, find a new lease of life. Professor Shils regards tradition as a transmitted pattern of thought connected to a thing or practice. Knitting to create textile from thread is therefore a tradition, as well as the methods that are handed down weather by oral or written instruction. As noted, some methods of colour-knitting are traditions more in some areas than in others. Also, some knitting methods may never have been lasting enough to establish themselves as traditions.

     

    Keywords: Fair Isle knitting, instructions, methods, knitting-manuals 

  • 20.
    Norling, Sara
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Textilvetenskap.
    En studie av cosplayutövares hantverk i relation till personlig identitet2018Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
    Abstract [en]

    Today cosplay is a constant growing subculture of people dressing up in costumes of their favourite fictional characters partaking in geek culture. This group of people have different ways of practicing cosplay. They go to conventions, meet up on online forums like Facebook and share their experiences and interests with each other. The focus of cosplay is for the person to transform them self with costumes that the cosplay practitioners or also known as “cosplayers.” have bought ore crafted themselves. This study focusses on analysing the thought process of cosplayers in relation to crafting a cosplay costume and how it relates to cosplayers personal identity. What is typical in crafting cosplay costumes and how does it differ between cosplayers in relation to the costumes purpose and cosplayers personal identity? This study uses mixed method research and is based on a survey of active cosplayers and their opinions of cosplay craft. The study uses social identity theory to analyse the cosplayers answers and how it effects the way they choose to practice cosplay. The result of this study show that cosplayers closely identify themselves with their craft in way that creates a cosplay identity. The cosplayers cosplay identity is how they relate their own way of cosplay inside the cosplay community. If they are a competing cosplayer, non-competing cosplayer, Armor specialist or the seamstress. 

     

     

     

     

    Keywords; Cosplay, personal identity, Cosplay competition, craft, textiles

  • 21. Skoglund, G.
    et al.
    Nockert, Margareta
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Textilvetenskap.
    Holst, B.
    Viking and Early Middle Ages Northern Scandinavian Textiles Proven to be made with Hemp2013Inngår i: Scientific Reports, ISSN 2045-2322, E-ISSN 2045-2322, Vol. 3, s. 2686-Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Nowadays most plant textiles used for clothing and household are made of cotton and viscose. Before the 19th century however, plant textiles were mainly made from locally available raw materials, in Scandinavia these were: nettle, hemp and flax. It is generally believed that in Viking and early Middle Ages Scandinavia hemp was used only for coarse textiles (i.e. rope and sailcloth). Here we present an investigation of 10 Scandinavian plant fibre textiles from the Viking and Early Middle Ages, believed to be locally produced. Up till now they were all believed to be made of flax. We show that 4 textiles, including two pieces of the famous Overhogdal Viking wall-hanging are in fact made with hemp (in three cases hemp and flax are mixed). This indicates that hemp was important, not only for coarse but also for fine textile production in Viking and Early Middle Ages in Scandinavia.

  • 22.
    Sundström, Eva
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Textilvetenskap.
    Konstnär, estet, nyskapare: En kvantitativ och kvalitativ analys av Karin Bergöö Larssons broderier och vävnader på Carl Larssongården i Sundborn2019Independent thesis Advanced level (degree of Master (One Year)), 20 poäng / 30 hpOppgave
    Abstract [en]

    Many authors and scholars since the late 60th and onwards have highlighted the textiles of Karin Bergöö Larsson as extremely modernistic and innovative for the time but few facts have been delivered to support this observation in terms of details of patterns and motives. Is it possible to identify and describe what has been declared as modernistic? What does Karin’s preferences for material, technique, pattern and motives tell us about her values and attitudes towards textile as applied art and as art?

          The collection of Karin’s original textiles at the Carl Larssongården, including a total of 151 objects, is investigated statistically regarding materials, techniques and colors. Furthermore, a limited selection of 20 textiles are investigated more profoundly focusing on Karin’s skills in handling different embroidery and weaving techniques in an artistic innovative way.

          My research indicates that Karin was more interested in innovative design rather than to preserve and transmit traditional crafts. Patterns and motives most frequently occurring in Karin’s repertoire can either be traced back to peasant art or characterized as influenced by the modernist movement – or both, combined in the same work. Technically Karin is constantly experimenting, developing and expanding her skills outside her comfort zone. She adopts a large number of traditional stitches in different combinations in addition to stitches invented by herself. The way in which she applicates embroidery and weaving techniques together with an artistic design reflecting contemporary art and influences from abroad is the key to what makes Karin exceptionally modernistic, up to date and even far ahead.

  • 23.
    Wahlberg, Ingela
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Textilvetenskap.
    Himlen är här: Heaven is here2014Bok (Annet (populærvitenskap, debatt, mm))
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